318 A Review of The Sundanese Scale Theory Mariko Sasaki, Juju Masunah Universitas Pendidikan Indonesia Submitted: 2021-10-27. Revised: 2021-11-29. Accepted: 2021-12-26 Abstract This article aims to discuss Kusumadinata’s scale theory in Sundanese music which has been taught in educational institutions in West Java, Indonesia. According to Kusumadinata’s scale theory, sorog and pelog are scales derived from salendro scale in gamelan salendro performance. In my previous research, I investigated three genres of Sundanese performing arts which have ex- isted since the Hindu era, namely goong renteng, pantun, and tarawangsa. The results indicate that the pelog scale has independently existed since the Hindu era. Then, I analyzed the phenomenon that occurs in the gamelan salendro performance, i.e., its melody (rebab and vocals) convention- ally modulate into scale ‘like sorog’, occasionally into scale ‘like pelog’, whereas the instruments of gamelan are in the salendro scale. However, the analysis on the sorog in the previous research was not enough, so that in this paper, I will focus on the sorog. To find out the relationship be- tween melody (vocal and rebab) and gamelan instruments, I examined the actual performances of gamelan salendro and wayang golek purwa. It became clear that the salendro scale derives four types of sorog. The findings of this study indicate that sorog has existed since the 19th century by this phenomenon, and the scale now called sorog is a scale derived from salendro. Keywords: Sunda; sorog; vocal; rebab; gamelan salendro; wayang golek purwa How to Cite: Sasaki, M., & Masunah, J. (2021). A Review of The Sundanese Scale Theory. Harmonia: Journal of Arts Research And Education, 21(2), 318-329 Harmonia: Journal of Arts Research and Education 21 (2) (2021), 318-329 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v21i2.32995 between the five notes of the Sundanese salendro is more equal than that of the Java- nese slendro. This can be clearly seen when comparing the finger position on rebab. Sundanese salendro (in gamelan salendro) is a bit difficult to transcribe with the dia- tonic tone, but when transcribed with the closest diatonic tone, D-E↑-G↓-A-B↑/C↓-D. Sign ↑ on the notes E and B means slightly lower than the E or B notes, sign ↓ on the note G and C means slightly lower than the G or C notes. Pelog in Sunda is clearly pentatonic. (In schools, this scale is also called degung.) Pelog is the original scale of gamelan degung, a small gamelan that is unique to Sunda. INTRODUCTION One of the peculiarities of Sundanese music is the presence of a scale (laras) called sorog. In Javanese and Balinese music, only two types of laras are recognized, namely slendro and pelog, while in Sundanese mu- sic, there are three types of laras: salendro, pelog, and sorog. These three scales are all clearly pentatonic. Salendro in Sunda is identical to slendro in Java. The main genre of the salendro scale in Sundanese music is game- lan salendro. But the pitch of Sundanese ga- melan salendro is slightly lower than that of Javanese gamelan slendro, and the distance Corresponding author: E-mail: marikokelinci216@gmail.com p-ISSN 2541-1683|e-ISSN 2541-2426 Mariko Sasaki & Juju Masunah, A Review of The Sundanese Scale Theory 319 Also pelog is the basic scale of tembang Sun- da Cianjuran, a solo vocal music accompa- nied by kacapi (zithers). The Javanese pelog (in gamelan pelog) consists of seven tones, although only five notes are used in prac- tice depending on pathet, hence Sundanese pelog is somewhat different from Javanese pelog. When transcribed with the closest diatonic tone, the Sundanese pelog is D-F♯- G-A-C♯-D. In order to make it easier to un- derstand the difference with the salendro, here is also indicated from the D note. What needs to be considered is not the pitch but the distance between each of the five notes. Sorog is typical of Sunda. (In schools, this scale is called madenda.) As William described, Sundanese people feel that the sorog is belongs to themselves which the Javanese don’t have (William, 1990, p.69). In fact, this melancholy scale is very favo- red by Sundanese peple. When transcribed with the closest diatonic tone, the sorog is D-E♭-G-A-B♭-D. In order to make it easier to understand the difference with the salendro, here is also indicated from the D note. What needs to be considered is not the pitch but the distance between each of the five notes. Regarding these three scales, there is a theory taught at art college (STSI/ISBI) in Sunda, namely “pelog and sorog are scale that are born from salendro (from gamelan salendro)”. The one who started this theo- ry was Rd. Machjar Angga Kusumadinata (1902-1979). Kusumadinata was the most influ- ential figure in the Sundanese school en- vironment. He coined a new term to be taught in schools. For example, the scale which is conventionally called ‘sorog’ by Sundanese musicians, he calls it ‘madenda’, and teaches it in schools. In 1923, he also created a solfa/cipher system which con- verts notes from ‘high’ to ‘low’ as 1/da-2/ mi-3/na-4/ti-5/la, this system is still wi- dely used in schools today (Zanten, 2014, p.209), even though in the field (outside of school) there are no musicians who menti- on tone like this. In Kusumadinata’s work, there are many things that are not in accordance with the reality in practice, so that many foreign scholars have criticized Kusumadi- nata, such as Tamura (1977), Fryer (1989), Weintraub (1993, 1997), Sasaki (2006, 2007), and Zanten (1987, 1989, 1995, 2014). Meanwhile, in Indonesia, especially in Sunda, no one has expressed criticism of Kusumadinata. Weintraub (1993, p.37) said that criticizing Kusumadinata is dif- ficult for Sundanese scholars because they are ‘insider’ who live in Kusumadinata’s own environment. During the 20th century, the Kusumadinata’s scale theory was never criticized nor reviewed by foreign scho- lars or by Sundanese/Indonesian scholars themselves. It was only in the early 2000s that lecturer from the STSI (ISBI) Bandung ap- peared who reviewed the Kusumadinata’s scale theory and dared to put forward cri- ticism, namely Deni Hermawan and Heri Herdini. Their writing are, “Tangga Nada Musik Sunda: Antara Kenyataan Teoretis dan Praktis” (Hermawan, 2001) and “Tinjauan Ulang terhaap Teori Laras dan Surupan Karya Raden Machyar Angga Kusumadinata” (Her- dini, 2004). However, the method employed in their research was measuring ‘number’ (pitch and pitch interval) on kacapi tuning externally and mathematically. Because the measurement numbers (cents) by them do not match the numbers (cents) mentio- ned by Kusumadinata, it was concluded that “degung and madenda are independent scales, not derivatives of salendro” (Herdi- ni, 2004, p.66). Koizumi, who built scale theory of Japanese traditional music, study on tu- ning on ‘musical instruments’ by measu- ring cents externally, and mathematics is meaningless if you do not understand the musical structure first (Koizumi, 1958 p.25, p.245-246). Likewise, the material taken in their research is kacapi, while Kusumadinata’s scale theory is based on gamelan salendro. Therefore, the results of their research are inadequate as a result of a review of the Harmonia: Journal of Arts Research and Education 21 (2) (2021): 318-329320 Kusumadinata’s scale theory. Concerning the emergence of ‘Ban- dung scholars’ who expressed criticism of Kusumadinata’s scale theory in the early 2000s (i.e. Hermawan and Herdini), Zan- ten states “a necessary step towards deve- loping a new modal theory for West Java”, and “after discarding Kusumadinata’s the- ories, scholars should develop a new mo- dal theory” (Zanten, 2014, p.216-217). However, after the emergence of the ‘Bandung scholars’ in the early 2000s, Kusumadinata’s scale theory has never been reviewed by either ‘insiders’ or ‘out- siders’. The first author has been studying Sundanese gamelan salendro since 1998 and has researched Sundanese scales as a re- view of Kusumadinata’s scale theory (Sa- saki, 2006, 2007). This article is a continua- tion of the previous research. To review the Kusumadinata’s scale theory, what needs to be noted is, that the Sundanese gamelan salendro was originally a Javanese gamelan slendro brought from Central Java (Islamic Mataram Dynasty) in the 17th century, and in Sunda developed as the accompaniment of wayang golek pur- wa. Therefore, the questions that need to be investigated are, (1) how is the sca- le of the ancient Sundanese music that existed in Sunda before the entry of game- lan salendro from Java (Islamic Mataram) in the 17th century? and (2) how to present the Sundanese gamelan salendro and wa- yang golek purwa can produce scales in the form of pelog and sorog? To answer the first question, in pre- vious research (Sasaki, 2006, 2007), the first author has investigated the scales on three types of ancient Sundanese music, name- ly goong renteng, pantun, and tarawangsa. Goong renteng is the oldest gamelan in West Java, which is the origin of gamelan degung. Pantun is an oral verbal tradition presented by a juru pantun while plucking kacapi all night long. (In the past it was often accompanied by tarawangsa). Tara- wangsa is a two-stringed instrument, and its presentation is always accompanied by kacapi. Existence pantun has been recorded in the Sundanese ancient manuscript Sik- sa Kandang Karesian written in 1518 AD, and it is considered that around 1400 the pantun had been known by the Sundanese (Sumardjo, 2003, p.5). Tarawangsa has also been referred to as a musical instrument in the Sundanese ancient manuscript Sewa- ka Darma written in the 15th century AD (Kurnia & Nalan, 2003, p. 31) that year the tarawangsa already existed. The scale on Goong Renteng is pelog (five tone pelog). This is reasonable becau- se, the scale of the gamelan degung which is said to be the development of goong ren- teng, is also clearly pelog. Also, Pantun, the original scale is pelog (five-tone pelog). As described by Weintraub (1990, p.66), sin- ce the early 1940s, for ‘entertainment’, the kacapi in the performance of pantun began to be tuned with salendro, but previously it was tuned with the pelog. This is also reasonable because the main scale of the Tembang Sunda Cianjuran which is a deve- lopment of the pantun is also pelog. Regar- ding tarawangsa, the so-called ‘principal pieces’ or ‘obligatory pieces’ presented to invite and entertain Dewi Sri (Nyi Pohaci Sanghyang Asri) in ‘sacred’ agrarian ce- remonies all in the pelog (five-tone pelog). Salendro scale only appears in several pie- ces which are presented as ‘entertainment’ after the sacred ceremony is over. Therefore, regarding the firast ques- tion, it has become clear that pelog in Sunda is an ‘independent scale’ that has existed since the Hindu era, long before the entry of gamelan slendro from Central Java, not a scale born from the salendro. Hence, as for the pelog, it can be said Kusumadinata’s theory is not right. Regarding the second question, the thing worth noting is, in the Sundanese music, especially in the gamelan salendro and wayang golek purwa performances, the vocalist and rebab player frequentry uses tones which can not be produced on the fixed instruments, i.e. the gamelan instru- ment is in the salendro scale, but the me- lody (voice and rebab) can be ‘like sorog’, sometimes it can also be ‘like pelog’. Mariko Sasaki & Juju Masunah, A Review of The Sundanese Scale Theory 321 Concerning this interesting pheno- menon, the first author has tried to analy- ze in previous studies (Sasaki, 2006, 2007). However, in previous studies, the analysis of sorog was not enough. Also, previous studies’ analysis was only about the game- lan salendro, whereas the Sundanese game- lan salendro developed as the accompani- ment of the wayang golek purwa. Therefore, in this article, both the ga- melan salendro and the wayang golek purwa are analyzed, and the analysis focuses on the sorog. METHOD The method used in this qualitative study is, descriptive analysis with a musi- cological approach. Data is collected by partisipatory ob- servation. The data needed in this study is the ‘melody’ performed by the rebab player and vocalist in the gamelan salendro and wayang golek purwa performances. To ob- tain data, what is needed is a study of the gamelan salendro practice including the ac- companiment of wayang golek purwa, rebab practice, interviews with gamelan salendro experts and dalang, presentation observa- tions, literature, recordings, both recorded by the author himself and those sold. Regarding the practice of gamelan salendro, including the wayang golek purwa, and the practice of the rebab, the first aut- hor studies them both ‘inside school’ and ‘outside school’. This aims to gain an ob- jective view, since what is taught at school (STSI Bandung) with what musicians prac- tice in the field is somewhat different. Actually, at the STSI Bandung, the first author took courses on ‘gamelan salendro/pelog’ and ‘wayang accompani- ment’. In outside of school, the first author participated in the gamelan salendro prac- tice which was held at the house of Asep Mulyana, a rebab expert. Also participates in gamelan salendro practice for wayang go- lek purwa at the house of Otong Rasta, the dalang of wayang golek cepak/purwa. Especially about the rebab, the first author studied with experts through priva- te lessons, such as Entis Sutisna and Uloh Abdullah. In this study, the practice of the rebab is more important than the practice of voice because the tone pitch can be seen clearly with the finger position. In addition, the first author also inter- viewed the experts of gamelan salendro and the dalang of wayang golek purwa, namely: Iyar Wiarsih, Samin Batu, Tosin Muhtar, Dede Amung Sutarya, and Asep Sunandar Sunarya. Besides, the first author observes va- rious performances accompanied by game- lan salendro, both tari (dance) and wayang golek purwa. While observing, the author records so that it can be studied. The first author also collects many records that are sold, both gamelan salendro and wayang go- lek purwa. Literature, especially about wa- yang golek purwa, has also been collected, although it is not mentioned here one by one. The results of the analysis are descri- bed using the Sundanese notation system, and transcripted in the closest diatonic tone in the Western music notation system. This paper uses the Sundanese notation system created by Kusumadinata, because most of the readers of this paper are familiar with the Kusumadinata’s notation system. In the concrete examples section, as a result of the analysis, transcriptions of the melody in the performances of gamelan salendro and wayang golek purwa with the closest notes in Western musical notation will be included. RESULTS AND DISCUSSION Phenomenon of Modulation As already said, in the Sundanese music, especially in the gamelan salendro and wayang golek purwas performance, the voice and rebab frequentry uses tones which can not be produced on the fixed instruments, i.e., the gamelan instrument is in the salendro scale, but the voice and rebab conventionally modulate into sca- le ‘like sorog’, sometimes it also modulate into scale ‘like pelog’. This is a very interesting phenome- Harmonia: Journal of Arts Research and Education 21 (2) (2021): 318-329322 non unique to Sundanese music, but it seems that Sundanese themselves don’t notice it. It was foreigners who analyzed this phenomenon. Tamura (1977) has tried to analyze this phenomenon in Ciawian (songs of Cia- wi). This phenomenon (only in the form of sorog) is also found in the performances of Ciawian accompanied by kacapi tuned with salendro scale. However, in principle the analysis is based on the theory and ter- minology of Kusumadinata (Ilmu Seni Ra- ras), and the analysis results are not clear- ly explained. It seems that Tamura was ‘confused’ by Kusumadinata’s theory and terms. This phenomenon (only in the form of sorog) is also found in the performances of Tembang Sunda Cianjuran accompanied by kacapi tuned with slanedro scale, becau- se of many of the salendro repertoires in the tembang Sunda Cianjuran are the repertoire of gamelan salendro. (For example, Kulu-Ku- lu-Bem transcribed in this artikel is one of the gamelan pieces sung as a repertoire of the Tembang Sunda Cianjuran.) This pheno- menon in the Tembang Sunda Cianjuran has also been analyzed by Cook (1993). Howe- ver, what Cook explains is that there are two types, namely what the first author calls Type A and Type B below. Four Types of Modulation System as the Result of Analysis The modulation system is as follows. The salendro scale of the instrument (game- lan) and scale ‘like sorog’ and ‘like pelog’ of the melody (vocals and rebab) share ‘three tones’ among the five tones of salendro sca- le. These three tones have important fun- ction in pieces as the framework, i.e. gong and kenong. Meanwhile, ‘the other two tones’ with no important function can be lowered or raised slightly, thereby modu- lating into scale ‘like sorog’ or ‘like pelog’. In previous research (Sasaki, 2006, 2007), as a result of the analysis of this phenomenon, the first author stated that there were three types of modulation sys- tems. However, upon review, it turns out that there are four types of modulation systems. Before explainning the four types of modulation systems, the author will exp- lain Figure 1. Figure 1 shows names and ciphers for the tones in Sundanese gamelan salendro on the image of saron (metallopho- ne). The labels on the bottom parts are the closest tones in Western scales. Figure 1. Names, ciphers, and pitches in Sun- danese gamelan salendro (by Mariko Sasaki) In the following, four types of mo- dulation systems are described as Type A, Type B, Type C, and Type D. Each type is explained using a illustration of saron. ‘The three unchanging tones’ (that are ‘shared’) are not colored, while ‘two tones that are lowered or raised slightly’ are grayed out. In the cipher notation, the lowered tone is underlined, and the raised tone is upper- lined. The conventional modulation is in the form of sorog. In Type A and Type B, both sorog and pelog are found, while in Type C and Type D, only sorog is found (see Figure 2 to Figure 5). [ Type A ] • ‘The three unchanging tones’ (that are ‘shared’) are 1, 2, and 4. •When tone 3 and 5 are lowered slightly, it modulates into sorog. (This type of sorog is called sorog kenong by traditional rebab play- ers.) The pitch of this type of sorog is 4-3-2-1-5- 4 = D-E♭-G-A-B♭-D. • When tone 3 and 5 is raised slightly, it mod- ulates into pelog. (This type of pelog is called kobongan or mataraman.) The pitch of this type of pelog is 4--2-1--4 = D-F♯-G-A-C♯-D. Mariko Sasaki & Juju Masunah, A Review of The Sundanese Scale Theory 323 Figure 2. Type A (sorog/pelog) [ Type B ] • ‘The three unchanging tones’ (that are ‘shared’) are 1, 3, and 4. • When tone 2 and 5 are lowered slightly, it modulates into sorog. (This type of sorog is called sorog panelu by traditional rebab play- ers.) The pitch of this type of sorog is 4-3-2-1- 5-4 = D-E↑-F-A-B♭-D. If the tone sequence is changed, it becomes A-B♭-D-E↑-F-A. • When tone 2 and 5 are raised slightly, it modulates into pelog. (This type of pelog is called pelog degung.) The pitch of this type of pelog is 4-3--1--4 = D-E↑-G♯A-C♯-D. If the tone sequence is changed, it becomes A-C♯-D-E↑- G♯-A. Figure 3. Type B (sorog/pelog) [ Type C ] • ‘The three unchanging tones’ (that are ‘shared’) are 1, 3, and 5. • When tone 2 and 4 are lowered slightly, it modulates into sorog. (This type of sorog is called sorog singgul by traditional rebab play- ers.) The pitch of this type of sorog is 4-3-2-1- 5-4 = C↑-E-F↑-A-B-C↑. If the tone sequence is changed, it becomes E-F↑-A-B-C↑-E. Figure 4. Type C (sorog) [ Type D ] • ‘The three unchanging tones’ (that are ‘shared’) are 2, 4, and 5. • When tone 1 and 3 are lowered slightly, it modulates into sorog. The pitch of this type of sorog is 4-3-2-1-5-4 = D-E♭-G↓-A♭-C↓-D. If the tone sequence is changed, it becomes G↓-A♭- C↓-D-E♭-G↓. Figure 5. Type D (sorog) Harmonia: Journal of Arts Research and Education 21 (2) (2021): 318-329324 The Results of Analysis of the Four Types of Moduration • The conventional (commonly found) modulation is in the form of sorog. • In Type A and Type B, both sorog and pelog are found. • In Type C and Type D, only sorog is found. • The most conventional (commonly found) ones are only two types, namely Type A and Type B. • As for sorog, a combination of Type A and Type B is common. • Type C is rare, and is not found inde- pendently. Type C is only found in combination with Type B. • Type D is only found in combination with Type A, and appears only when heading to tone 4. Therefore, Type D can be considered as part of Type A. (Hence, Type D is written as Type A/D.) • If it is a combination, from Type A to Type B (or vice versa), and from Type B to Type C (or vice versa) frequently occur. However, the shift from Type A to Type C (or vice versa) always oc- curs via Type B. Four Types of Sorog as the Results of Analysis As I mentioned above, conven- tional modulation is in the form of sorog, and there are four types of sorog. Figure 6 shows four types of sorog found in the vo- cals and rebab (transcripted by first author in the closest diatonic tone). As you can see, each type is overlapping, and the most conventional ones (i.e. Type A and Type B) are the center of four types. A D B C Figure 6. Four types of sorog found in the vo- cals and rebab (Transcribed by Mariko Sasaki as Results of Analysis) Key Notes (1 and 4) As previously explained, among the four types, the conventional (common- ly found) modulation is only two types, namely Type A and Type B. This is indeed natural, because the rebab is tuned to tone 1 and 4. (In Type A and Type B, tone 1 and 4 are not changed.) It can be said that tones 1 and 4 are ‘key notes’. In fact, many of the gamelan salendro repertoires are based on tones 1 and 4. Also, the dalang’s songs in the wayang go- lek purwa can be said that almost all end on tone 4 or 1. Hence in the wayang golek purwa performances, saron players often sound tone 1 and 4 so that the dalang’s voi- ce doesn’t out of tune. Modulation in the Form of Pelog As explained above, in Type A and Type B, both sorog and pelog are found. However, in practice, the form of ‘salendro with pelog’ is rarely found. It is found only in newly composed pieces or as a variation (as an improvisation) in the performances of pieces whose original melody is salendro scale. Also, there are no ‘classical pieces’ whose original melody is pelog scale. Therfore, it can be assumed that the modulation in the form of pelog is a new phenomenon. It is confirmed by gamelan salendro experts, namely Iyar Wiarsih, Sa- min Batu, Entis Sutisna, Tosin Muhtar, Asep Mulyana, and Uloh Abdullah. Like- wise, the dalang’s song in the wayang golek purwa performance, the modulation in the form of pelog is a new phenomenon. It is also confirmed by dalang, namely Dede Amung Sutarya and Asep Sunandar Sun- arya. Modulation in the Form of Sorog The conventional modulation is the form of sorog, both in the gamelan salendro performances and in the wayang golek pur- wa performances. There are also several sekar ageung (big pieces which have ‘finished melody’) whose original melodies are totally in the sorog. For example, Kulu-Kulu Bem, Tablo, Udan Mas, Banjar Sinom, Lara-Lara, and so Mariko Sasaki & Juju Masunah, A Review of The Sundanese Scale Theory 325 on. There are also several sekar ageung whose original melodies are salendro scale but conventionally altered into sorog. For example, Kawitan which is conventionally presented at the opening of the wayang go- lek purwa performance. In the performance of sekar alit (small pieces which does not have ‘finished melo- dy’), if the sinden (female singer) and rebab players are willing and able, the melody can be spontaneously modified (impro- vised) into sorog. Several sekar alit have ‘finished me- lody’ conventionally, and the melody is so- rog. For example, Kulu-Kulu Gancang which is usually served after Kulu-Kulu Bem. Concrete Examples If the dalang‘s songs in wayang go- lek purwa are applied to the four types, it can be said that almost all is Type A and Type B. This is related to almost all dalang’s songs end on tone 4 or tone 1. If the sekar alit repertoires of gamelan salendro are applied to the four types, as fol- lows. Kulu-kulu gancang (2) and Banjaran (11) is Type A. Kulu-Kulu Barang (4) and Sinyur (11) is Type B. In Renggong Gancang (23), the first half is Type A, the second half is Type B. Likewise in San- ga Gancang (54), the first half is Type C, the second half is Type B. If the sekar ageung repertoires of ga- melan salendro (whose original melody is totally sorog) are applied to the four types, as follows. Kulu-Kulu Bem and Gawil are Type A/D. Tablo, Udan Mas, and Lara-Lara are a combination of Type A/D, and Type B. Banjar Sinom is a combination of Type B and Type C. The biggest pieces in the gamelan salendro’s repertoires are the pieces con- ventionally presented at the opening of wayang golek purwa, namely Kawitan, Bendra, and Sungsang. The original melo- dies in these pieces are salendro, but there is already ‘sorog version’, and in this ‘sorog version’, four types all appear. ‘Classic Pieces‘ in Sorog Regarding sekar ageung, whose origi- nal melodies are totally in sorog, i.e. Kulu-Ku- lu Bem, Tablo, Udan Mas, and Banjar Sinom, the thing worth noting is that these pieces are ‚classical pieces‘. Therfore, it can be assumed that the modulation in the form of sorog is an old phenomenon. It is con- firmed by gamelan salendro experts, namely Iyar Wiarsih, Samin Batu, Entis Sutisna, Tosin Muhtar, Asep Mulyana, and Uloh Abdullah. As to when these ‚classical pieces‘ exist, it is difficult to say for sure. But ac- cording to Lubis (Lubis, 1998, p.245), the regents of Cianjur liked Kulu-Kulu Bem as an accompaniment to tayub, hence it can be assumed that at least it has existed since the 19th century. Transcriptions of Melodies in Sorog As a concrete example of melodies in sorog, the first author will attach the tran- scription. The transcription 1 is dalang‘s song (Kakawen Sendon/Sri Tinon) sung by Asep Sunandar Sunarya, as an example of Type A. The transcription 2 is the first gongan of Kulu-Kulu Bem, rebab by Uloh Abdullah, as an example of Type A/D. The transcrip- tion 3 is the first gongan of Banjar Sinom, re- bab by Uloh Abdullah, as an example of a combination of Type B and Type C. These two pieces are 4 wilet. In the presentation of the pieces 4 wilet, each first line is sung by alok (male singer) with improvisation, after that from the second line, the ‚finis- hed melody‘ begins. Therfore, the transc- ription starts from the second line. Regarding the transcription of Ku- lu-Kulu Bem and Banjar Sinom, there are things to note. In senggol (melodic orna- ments performed by rebab player and vo- calist), it also used tones that do not belong to each type described above. Hence, in the transcription, sometimes appear tones that do match the tones of each type described above. Also, in the senggol, there is a tenden- cy that ‘when the melody goes up’ with Harmonia: Journal of Arts Research and Education 21 (2) (2021): 318-329326 ‘when the melody goes down’, the pitch is slightly different. Concretely, in Type A, when the melody goes up, G-A-Bb, but when the melody goes down, it tends to become Bb-Ab-G. Likewise in Type B, when the melody goes up, D-E↑-F, but when the melody goes down, it tends to become F- Eb-D. Likewise in Type C, when the melo- dy goes up, A-B-C, but when the melody goes down, it tends to become C-Bb-A. Comparison with Kusumadinata’s Scale Theory As described in the Introduction, Kusumadinata’s scale theory is “pelog and sorog are the scales born from salendro (from gamelan salendro)”. The experiment conducted by Kusumadinata to draw the scale theory can be seen in Ringkesan Pan- gawikan Rinenggaswara (Kusumadinata, 1950) and Ilmu Seni Laras (Kusumadinata, 1969). Ringkesan Pangawikan Rinenggaswara may be considered as a summary of Ilmu Seni Laras. Ilmu Seni Laras is still used as a course material in art education institu- tions, especially STSI (ISBI) Bandung and State Vocational High Schools (SMKN) 10 Bandung (Herdini, 2003). What was being done by Kusumadi- nata to draw the scale theory was to deve- lop the salendro scale as a rakitan salendro (salendro assembly). What is meant by ‘ra- kitan salendro’ is, to insert a tone between the five tones of salendro by raising (miring- kan) or lowering (malangkan) the five tones of salendro. Then, calculate the interval bet- ween the notes mathematically with cents. As an experiment, in 1938, Kusuma- dinata made a ‘rakitan salendro 10 raras’ by inserting five tones into the five tones of salendro. The distance between the ten tones on this model is 120 cents. Then in 1942, as a second trial, a ‘rakitan salendro 15 raras’ was made by inserting ten tones. The distance between the 15 tones on this mo- s ri ti non ing pa bu s bu ser ya reng geng ma nik na ra wa ta na ra wa ta sar wa ruk ma ba pus pi teng u di a na pan jra hing sar wa ruk mamiang sa na ma ne ka wa r na ri ti non ing pa se wa kan bu sa na ma ne ka war na sa na ma ne ka wa rna war na se wa kan bu sa na ma ne ka war na Transcription 1. Dalang’s Song Kakawen Sendon (melody)/Sri Tinon (words) Based on Vocal by Asep Sunandar Sunarya (Transcribed and Analyzed by Mariko Sasaki) Mariko Sasaki & Juju Masunah, A Review of The Sundanese Scale Theory 327 del is 80 cents. Finally, in 1945, the ‘rakitan salendro 17 raras’ was made by inserting 12 tones. The distance between the 17 tones on this model is 70 cents (Kusumadinata, 1969, p.27-38). Kusumadinata’s scale theory is based on experimental results of ‘rakitan salendro 15 raras’. However, as Kusumadinata him- self says (on page 32 in Ilmu Seni Raras), the reason for choosing ‘rakitan salendro 15 ra- ras’ is, simply because ‘it feels better’ (‘lebih enak’) than ‘rakitan salendro 10 raras’. Thus, what Kusumadinata did to appeal to the scale theory was, just ‘calculate’ intervals mathematically and ‘choose’ with the rea- son of ‘feels better’. Meanwhile, the first author analyzes ‘musical structure’ in the actual perfor- mances of gamelan salendro and wayang golek purwa, namely analysis the relation- ship between melody (vocal and rebab) ga- melan instruments. Therefore, this study shows the real evidents in compare with mathematical calculation developed by Kusumadinata. ‘Sorog’ in Japan Japan is also one of the ‘members’ of the ‘pentatonic region’ of Asia. In this re- gard, there is an interesting point, namely that the three types of scales in Sundanese music are identical to scale (called onkai) in Japanese traditional music. Concretely, the Sundanese salendro is identical to ritsu onkai in Japan, the Sun- danese pelog is identical to ryukyu onkai found in the Ryukyu/Okinawa Islands in Japan. The Sundanese sorog is exactly the same as miyakobushi onkai in Japan. As is the case with sorog which is typical of Sun- da, miyakobushi onkai is also typical of Ja- pan. According to Koizumi, Japanese ethnomusicologist, miyakobushi onkai is a mutation of ritsu onkai. The mutation oc- curred in the 17th century in the Edo pe- Transcription 2. The First Gongan of Kulu-Kulu Bem (Sekar Ageung 4 wilet) Based on Rebab by Uloh Abdullah (Transcribed and Analyzed by Mariko Sasaki) Transcription 3. The First Gongan of Banjar Sinom (Sekar Ageung 4 wilet) Based on Rebab by Uloh Abdullah (Transcribed and Analyzed by Mariko Sasaki) Harmonia: Journal of Arts Research and Education 21 (2) (2021): 318-329328 riod (1603-1867), hence miyakobushi onkai is found in the music that developed during the Edo period, namely koto (kacapi) and shamisen (three-stringed stringed instru- ments). Miyakobushi onkai is also found in many folk songs. According to Koizumi, folk songs throughout Japan that were ori- ginally ritsu onkai have now almost all be- come miyakobushi onkai (Koizumi, 1958, p. 207 & 249, 1974, pp. 77-78). Thus, in Japan, miyakobushi onkai (identical to laras sorog) was derived from ritsu onkai (identical to laras salendro). Is the sorog in Sunda also the same? Was so- rog derived from salendro? If so, this means that the same phenomenon occurs hori- zontally in Japan and in Sunda/Indonesia. Hence, when this can be proven, it will contribute to the musicology, both in Ja- pan and in Indonesia. CONCLUSION As explained above, the presence of pelog as a modulation (i.e., Type A and Type B) in the melody (rebab and vocal) in the performances of gamelan salendro and wayang golek purwa is ‘a new phenomenon’. Also, the results of previous research on the three genres of ancient Sundanese music that have existed since the Hindu era show that the pelog is an independent scale that has existed since the Hindu era, long before the entry of the gamelan slendro from Central Java (Islamic Mataram Dy- nasty). Therefore, with regard to pelog, it be- came clear that Kusumadinata’s scale the- ory needs to be reconstructed. Meanwhile, the presence of sorog as a modulation in the melody (rebab and vo- cal) in the performances of gamelan salendro and wayang golek purwa is ‘an old pheno- menon’ that can be presumed already existed at least in the 19th century. 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